Fringe reviews

Reviews of theater and performing arts events in the Philadelphia Fringe Festival. Phindie is providing more critical coverage of the festival than any other publication in Philadelphia.

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WHITE FEMINIST (Lee Minora): 2018 Fringe review

A no-holds-barred look at the ways in which white feminists, with the best of intentions, don’t always walk even their own talk.

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WOLFCRUSH: a queer werewolf play (On the Rocks): 2018 Fringe review

WOLFCRUSH misses the no-holds-barred humor, shock value, and pop culture-infused insight into youth culture of playwright Haygen-Brice Walker’s previous Fringe entries

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ONE MAN’S TRASH: A CABARET ABOUT TREASURE (Tiny Rocks): 2018 Fringe review

The show is basically a pirate-themed excuse for these two twee indie folkies to sing their songs of love and independence.

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AN UNOFFICIAL UNAUTHORIZED TOUR OF LOVE PARK (Rose Luardo/Kate Banford): 2018 Fringe review

The piece gets its appeal from the increasingly outlandish characters and an inventive absurdity that devolves into a game of fetch and walking construction barrels.

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A VACATION (Poison Apple Initiative): 2018 Fringe review

Dante had Virgil; in the divine comedy of our times, we have a self-absorbed vlogger.

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NIGHTMARE FUEL (Sarah Knittel): 2018 Fringe review

A punk-horror Fringe show which engages the audience and keeps the us engaged

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SONG OF MY SELF-CARE (Jimmy Grzelak/PHIT): 2018 Fringe review

Gzelak finds the poetry and the absurd in the mundane.

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B. FRANKLIN: WORDS MATTER (Vagabond Productions): 2018 Fringe review

An extraordinarily splendid opportunity for an informative and fun visit with Benjamin Franklin

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BEHOLD HER (Half Key Theatre Company): 2018 Fringe review

Publicity for the show focuses on the question, “What is beauty?,” but the show itself goes much deeper.

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THE ACCOUNTANT (Trey Lyford): 2018 Fringe review

Do the math. That’s what accountants do, right? The show is 75 minutes long. I looked at my watch about ten times, from which we can deduce by simple arithmetic…

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SONGS OF WARS I HAVE SEEN (Heiner Goebbels): 2018 Fringe review

An imaginatively textured musical performance in which music, sounds, and speaking are of a piece

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CHAOS THEORY (Jessica Creane): 2018 Fringe review

The reliance on audience volunteers yields some interesting moments, framed in a series of games, but too often Creane pushes moments past humor.

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CLOSE YOUR LEGS, HONEY — A NEW MUSICAL (PHIT/Hannah Parke & Shamus Hunter McCarty): 2018 Fringe review

CLOSE YOUR LEGS, HONEY is a cheery musical tackling the difficult subject of societal expectations for women and the shit women have to put up with.

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AIRPORT OPENED (Brian Shapiro): 2018 Fringe review

AIRPORT OPENED takes you on an enjoyably elucidating human journey well worth experiencing!

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ECCENTRICITIES OF A NIGHTINGALE (Idiopathic Ridiculopathy Consortium): 2018 Fringe review

ECCENTRICITIES is lush, loquacious and very typical Tennessee Williams: lonely, sex-starved women, men struggling against overbearing mothers, desperation everywhere.

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MARY ROSE (Philadelphia Artists’ Collective): 2018 Fringe review

However crammed your Fringe calendar may be, don’t miss this one.

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FIGMAGO (Meg Sagilman Studio): 2018 Fringe review

  FIGMAGO is an escape off of the beaten path, an imaginative walking tour that begins to reveal unknown peculiarities about six muses that inspire muralist Meg Sagilman. Each room correlates with…

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UNHINGED (Matter Movement Group): 2018 Fringe review

Gather yourself for an illuminating walk along a dim, roughly hewn path into untamed territory where sounds and other sensory elements gather in corners to conspire. Your brutally handsome, knowledgeable…